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Hi guys,
I'm currently trying to learn new scales for jazz soloing, like, Phrygian Dominant, Whole Tone, Diminished WH, Dorian b2 and I have a major philosophical and practical doubt.
I had some lessons with a teacher that had me learn the Major Scale and modes, starting with the 1st, 2nd, and 4th finger, on every string. I did find this approach very good for you to be able to connect your lines with no need for major jumps to go to the "pattern you know". Now comes my lazy side. This approach requires you to memorize A LOT of patterns, more than the CAGED 5 and the 3nps 7.
So I guess my LAZY question is: do I really need to learn like 11/12 positions for the Phrygian Dominant? Or should I just stick to some key positions just enough to connect the other shapes I already know. For instance, if I'm soloing over a Bm7b5 - E7b9, I have several positions I'm comfortable for the B Locrian, do I just need a couple of really simple shapes for the Phrygian Dominant, or would you say it's really important to also have all the shapes memorised because it's handy to be able to do the scale starting with the 4th finger on the B string??
Moreover, if you guys use just the 5 CAGED or the 7 3nps patterns, don't you find yourselves sometimes stuck, needing to do an awkward jump to solo over some progressions?
Um, you need more than scales and arps to solo in a Jazz style. The sooner you learn where the scales and arps are, the better, because the real work will start after that. You are just learning the alphabet, you need to learn to create a language with this alphabet.
Learning 12 ways to play each mode is not necessary. What works for me, and many many other players is to learn everything in 5 places (CAGED?), all the chord inversions (Drop 2, 3 etc), arps and scales. Then spend the rest of your life learning to combine patterns, devices and language to tell your stories. The hardest part of that is deciding which devices you will devote your 10,000 hours to, after all there is no book, or website/youtube for that.
Instead you have to use your taste, and decide what you like from the music of others, and certainly not just guitar players. Then you need to forensically analyse what these players are doing and derive a methodology from what you discover. This is not learning licks or lines by rote! That's not much harder than learning scales and arps! Instead, invent your own language where you can improvise endless variations on all your material against all situations, which will take years and years to develop. Blues, RC, Standards, W. Shorter type tunes and then the post modal stuff.
Or, learn some scales, form a fusion band and play bullshit over some vamps and impress your rock guitarist mates with how you can join all your scales all over the fretboard like, really fast (wow!)
The way I learned it, from an old pro here, is seven position system with first finger stretches where necessary, but NOT 3 NPS. Each position starts from second finger, and yields uniformity when you apply to chords etc.
Basically, he doesn't philosophically approach it from "learn to play everything seven ways". It's more from the standpoint of learning seven positions so that you can play each chord position in 3 or 4 inversions and always start on the same finger etc. To me, it's almost like you're doing MORE than five position caged, but almost LESS in another sense , because you're mostly thinking 3 or 4, and they're uniform , regardless of chord type etc.
Anyway, the major take away from this is that it makes learning the "other" scalesvastly easier, because they can easily be seen as the simple variations which they would be if you're playing them on keyboard or sax etc. It somewhat disrupts the "pattern problems" of guitar and helps with seeing absolute pitch etc.
Also, you did say "Jazz soloing", which, to me, implies the usual amount of chromaticism that makes Jazz, well, Jazz...
Your chromatic connections (approaches, enclosures etc) are always going to take you outside of any "shape" anyway, to the point you may eventually forget your scale shapes anyway because you may never play more than 3 diatonic scale notes in a row! Another reason not to waste too much time on scales. Does a poet recite the alphabet 100 times a day for 10 years?
On the issue of fretboard coverage and avoiding "jumps" from position to position, well that depends on the way you learn to play your own language. Some very famous 3 finger players learned their lines by playing along the strings (horizontally). That doesn't mean we all have to! It's sometimes less expedient to express your lines that way, and becomes harder to think and play in all 12 keys as these players tend to have pet lines in only a few fave keys and neck positions. That's a big downside that seldom gets discussed.
Anyway, you can get a lot of notes in your phrase just by hovering around a single position at a time. In fact transcribing players on most instruments I have found the majority of the phrases I like are playable on the guitar without the need to shift position mid phrase. You may want to shift position for your next phrase, and the one after that may go from the 3rd position to the 13th position, even if you don't want to rest between phrases. This is better technique in many ways. Forces you to use your pinky more often, makes your devices "modular" enough to get mileage in all positions and all keys and allows for greater accuracy and control given that the fret hand is not needlessly flying around the finger board mid phrase. Ever watch a sax player's hands? Or a trumpeter's?
Sure, there's a common complaint that if you don't play horizontally, you don't play "lyrically" Haha, I seriously don't know how that one started, but I assume it has to do with novices that learn shapes or boxes and play the same things within them (like rock pent shape noodlers). If you have a few dozen different ways to address each chord (should you wish to) by use of any number of devices - many of which may involve chromatic embellishment - then you won't have to worry about being "boxed in" by any "shape", you won't see any shape! Do you see shapes when a sax player solos? Instead, economy of positional movement can actually be liberating, making many lines more accessible than they would other wise be.
Again, nothing wrong with horizontal shifting, it's a sound that can utilise slides if that's your thing. Of course, for comping you probably have little choice than to move around a lot if you wanna keep things interesting, but for soloing, 5 positions covers all you really need, concentrating on one position per phrase most of the time.
And one last thing, being "lazy" is clearly not going to be an option if you wish to improvise Jazz guitar, even at an intermediate level. But being time efficient is a must, absolutely, because life is too short! And no, you won't figure out any "short cuts", not on your own, and not on this forum or any where else on the internet. Not in any one book either. Like everyone else, you will think you will be clever enough to the the exception, and like everyone else, you will waste years realising it just ain't so. Either find an excellent teacher and practice what your given diligently, or be patient, and I mean like, very patient. Good luck!
Originally Posted by princeplanet
The answer: Of course not, but that's beside the point, and additionally they all KNOW the alphabet, wherever they recite it or not. Every sax player and piano player knows every iteration of basic major/ minor scales in junior high school.
Better philosophical questions might be:
Will knowing the alphabet actually INHIBIT your ability to think/read/speak/write"? Can most other competent adults who speak/write well etc. recite the alphabet? Does "wasting" time learning the alphabet take a band with which would otherwise be utilized for something more important regarding reading/writing etc?
These are the kind of conversations it's only guitarists have.
Originally Posted by rsergio
Get the 1st Barry Harris dvd set and workbook. between that, tunes, and collecting you favorite phrases you will have a solid foundation.
Then go on your new fangled adventures in jazz theory (if you still want to).
just one more opinion. disclaimer: I'm not a pro
Originally Posted by matt.guitarteacher
Originally Posted by princeplanet
I personally like the alphabet image ... for why we SHOULD learn scales in the first place. People will then get into arguments about how you don't need "alphabet", you need VOCABULARY. That completely ignores the fact that alphabet, vocabulary, syntax, idiom are largely separate things. You can't really argue "against" one in place of the other.
They aren't COMPETING ideas.
Originally Posted by matt.guitarteacher
People need to be slapped out of it !
Originally Posted by princeplanet
If a saxophone player plays too many scales, the SCALE itself isn't really the problem. Again, I feel like conversation about knowing the basics scale always devolves into conversations about not spending the rest your life ONLY playing scales.
The unintended consequence is that, by default, we are actually implying that guitarists don't need to have the basic competencyof being able to play a harmonic minor scale like the rest of the musical world.
The harmonic minor scale does not have to include in itself all of the answers to the Jazz universe . That's not its purpose. To argue that or that every good boy does fine "isn't a method" is a waste of time and beside the point. Of course it's not. But it's a nonsensical "argument". Scale is a scale. Every guitarist has the "right" to be illiterate I guess.
Matt, he was asking if he really needed to know 12 positions of Phrygian Dominant. If he feels he does, and every other mode in the texts books, in 12 positions in every key, then there's every chance he will be over focusing on scales for the rest of his life...
Originally Posted by princeplanet
You need to cover some "basic" of several different things before you focus on 12 positions of anything in my opinion. That's what Reg has always advocated. Regardless of the way his approach is misunderstood, he is always been about simplicity and learning basic. The way some people talk you could spend three or four years just on basic major , in every conceivable iteration possible. Meanwhile, don't you need an understanding of BASIC harmonic minor or melodic minor just to understand simple harmony etc?
Dont meant to be condescending but have you learnt your major scales first?
Originally Posted by matt.guitarteacher
Anyway, I've offered my cautionary advice. The OP can decide for himself, as can any future novice that may stumble on this thread.
Originally Posted by don_oz
Yes I have. And that's a good point to reinforce.
I know the major scale, can start a line from every finger on every string. Can solo over standard progressions at a basic level. And I'm on the camp that says that the important thing is to make musical stuff, not to get to tied up in theory and scales, etc. BUT, as I play over basic progressions, trying to play "what sounds good to me", many times I can't and I feel there is not enough structure under.
For instance, on a ii-V-I, I'd use Dorian, Mixolydian, Major. But when you get to something like a Bm7b5 -> E7b9 you really start to feel the need for something else of course, you need that Locrian over the Bm7b5, you need something emphasising that b9 on the E. Or, for instance, you get a CM7-C#dim-Dm7-G7, at first I just played a simple diminished arpeggio over the dim chord, but that get's old quite quickly and you feel the need for actually knowing the proper diminished scale in several positions so you can do that run in several place on your fretboard and not just an anchor position.
And then begins my doubt, how do I go about learning the Diminished Whole Half scale? Like I was told "be able to start the scale on any string, on fingers 1,2, and 4, both ascending and descending"? Is this what most people learn? Would you say this is a bit overkill? That some key positions are really essential and cover 80% of the needs and then you just fill the blanks as you progress? How have you learnt it? What do you suggest?
Originally Posted by matt.guitarteacher
One thing I like about Reg's way is that he has the 2nd finger on the low E for the root in every case. That's nifty.
Originally Posted by rsergio
I find playing is so much more transparent, natural, and effortless if focus is moved away from the mechanical input of the process (fingers, positions, patterns, and shapes), and rather focused on the musical output of the process (the actual sound of what I want to hear coming out).
I imagine in my mind's ear the sound of what I want to hear and let my fingers themselves learn to produce those sounds. I find that they don't mind stretching or moving up and down the finger board, they routinely finger the same thing differently based on context, don't need to be directed by memorized positions, patterns, shapes, registration of a starting finger, or any other input controlling strategies. I drive my hands with the sound in my head and let my hands sing that sound out through my instrument.
Originally Posted by pauln
That's a lovely ideal, but for most of us mortals having the muscle memory of having practiced fingerings is an immense aid to being able to play quickly. That said, I do try to play melodies on a single string from time to time to force myself to recognize the pitches rather than playing out of a pattern.
I recommend trying it... think of what happens as "muscle melody" rather than "muscle memory"...
both are good. i use paul's technique when improvisng based on the tune's melody. however, i doubt ill ever be forming bebop lines atp 200 bpm like that
Originally Posted by Tal_175
And that's why I feel I really need to master the other important scales/modes, so I can play a proper Locrian and Phrygian Dominant over m7b5 and 7/susb9 chords, not just play a C Major run over a Bm7b5, or Mixolydian over 7b9. That way, you really miss the sonic shape and character of the underlying chord (and some notes will be plain "wrong").
Originally Posted by rsergio
I am asking because before learning 11 or 12 positions of Phrygian dominant scale to play over minor ii V, it might be useful to make sure you know exactly why just learning the Harmonic Minor scale really well wouldn't be enough.
BTW, if you do transcriptions of solos of bebop legends, you'll quickly see that they almost never start their lines on the roots.
Last edited by Tal_175; 08-14-2018 at 10:23 PM.
I'm finding everything PP says exactly in line with my experience. Nothing comes close to playing melodies in open position in every key by ear to make things stick, fingers start to think for themselves. And it makes every 'system' easier.
I simple and effective exercise is to play a four note chord in adjacent strings then play the scale you think you need to know from the base note to the top note. Then go up to the next inversion and do the same. It's easy to use chord shapes as containers for scales and sadly easy to lose sight of chords from running scales.
Originally Posted by rsergio
The goal is to be able to play the major scale starting from ANY chord tone over any chord. For example over G7 one should be able to start from B (3rd) or D (5th) or F (b7th) as well as other tones. This is too hard to do in the beginning so people are taught a simplified view. Play Mixolydian over V7, Dorian over ii etc. That doesn't exist in the real world. People don't play C major starting on G over G7 when improvising. But until you get to a high level of mastery of the major scale, you can practice playing modes over their respective chords. That would align chord tones on the down beats and train your ears for the sound of the chord progression while playing scales. But just being able to do that doesn't mean one has learnt the major scale for the reasons I gave above.
Last edited by Tal_175; 08-15-2018 at 10:53 AM.
A possible different path:
Every interval has 2 viable fingering options.
Learn every fingering for playing half of a scale all over the neck.
Learn these oriented around every scale degree.
4 nps
3 + 1
2 + 2
1 + 3
Then simply learn to chain them together as needed.
That's closer to how I approach scales. This also helps you be always aware of the scale degree you're playing and the quality of the degree (b6th, natural 7th etc.)
Originally Posted by Tal_175
I also recently started singing solfege names of the notes I'm playing when I practice. I don't do it all the time of course only parts of the session. It is easier to pronounce the notes as one syllables and I think it makes aural learning of the intervals quicker.
great for reading music too. okay sorry for digression
Yea... getting technical skills together.... learning how to play your instrument.... is one thing.
Getting your musical and performance skills together is another.
Anything will work... if the system gets where you want to get. Personally... you need to get to the point where there are no fingerings... you can just play anything anywhere on the fretboard you want without having to figure out how to finger it. You choose fingerings to help with phrasing and articulations..... the style, feel and resulting sound.
The point of fingerings is for the fretboard to become one big 12 fret fingering that repeats.
After you choose and finish the process... you are free to play whatever you choose. Jazz isn't really work stuff out memorize fingerings and perform.... Jazz is more about having the skill to work stuff out live.... being able to play what you haven't worked out, interact with the music and musicians. But being able to play in a jazz style really isn't for most.... but who cares. If you have the time and love playing.... playing jazz music or tunes is fun. You don't need to be a jazz player to play jazz tunes...
I can tell you that if your starring at your fretboard when playing.... your system doesn't work that well for you.
If your jumping around the fretboard... that's cool, great effect... but if the jumping around creates your phrazing and your again staring at your fretboard... again maybe your system doesn't work that well for you.
If you need to be playing all the time.... to have good technique... again maybe your system doesn't work that well for you.
If when your sight reading... how well does your fingering system work?
Again... you need to decide what approach you want to use.... but you should also choose where you want to get. What are the tests or checks that would help you decide if the system works?
I would:
1) pick a tune
2) select an area of the guitar ( for me there is just three areas under the 12th fret, i dont play open strings)
3) play the first chord of the tune in the chosen area, try to find a shape that encompass as much strings as possible, all the (basic)4 notes chords are just really 6 string chords.
4) figure the scale and arpeggio that go with the chord in that area
5) improvise on that chord in the chosen area
6) go to the second chord, stay in the chosen area
Next time that chord will show up in your mind you will have everything you need to do single lines, chord melody etc. 12 notes, about 5 basic qualities, 3 areas, 180 chords and youre done! This way you just have to remember the chord shape that goes with the chord name.
After awhile the areas will slowly group into a large all encompassing area on the fretboard.
I thing takemitsu is having fun...
Maybe an approach might be... becoming aware of what your trying to learn.
Say Phrygian Dominant... Which would be the 5th degree of Harmonic Minor. And is the basic default altered Dominant chord or collection of notes... scale arpeggio etc... that most major /minor functional music.... is derived from.
The Dominant chord from the Relative Minor. ( A-7 is the relative Minor of Cmaj7) Generally most traditional tunes use the Relative Minor or the VI-7 chord as the default Minor harmonic and melodic reference when composing, arranging and soloing. And to create a Dominant V7 chord they use the borrowed V7 chord from VI-... which pulls from Harmonic Minor.
This help keep Function the same as Major........ Tonic... Sub dominant and Dominant Harmonic, (chordal), movement.
Sub Dominant...SD
Cma7 Fma7 G7 Cmaj7
So when you play... use that Phrygian Dom. Chord or implied scale....
Using chord pattern above...
You can play A-7 aeolian... or 1 b3 5 b7 and do whatever you choose, and for the V7 chord, you could use E7b9b13... which is the 5th degree of Amin Harmonic minor. (phrygian dom.)
This would be basic starting point.... There are traditional voice leading guidelines for how notes should move. But generally when playing in a jazz style... that again would be basic Vanilla. I personally use those voice leading guide lines for what not to play. They're already implied. But this would be where you make your choices.
I also... when using Phrygian Dominant or V7b9b13 in a dominant functional application.... (E7b9b13 going to A-7)..... also use relative subs to help expand the basic E7 chord... I might spell Cmaj7#5,( the relative Maj chord of E7b9b13), and G#dim7b9b11b13, (the expanded relative chord of E7b9b13).... All using the same collection of notes.... as the E7b9b13 which is derived from Harmonic Minor, The phrygian dominant version.
You could just call the chords extensions.... and just play Phrygian Dominant scale or arpeggio..... but it's different. Your probable not close to being able to keep getting deeper....so getting back to fingerings.....
How would you finger ....using those subs as an application for playing E7b9b13... E phrygian dominant. (subs Cmaj7#5 and G#Dim b9b11b13)
There are many other Harmonic organizations or approaches for using scales to develop improv.... Different approaches to create relationships using that E7 phry. dom. as reference.
Then when getting into Dorian b2.... Melodic Minor.... there are very different approaches for how to use the scales, arpeggios etc.
I generally relate Melodic Minor To Dorian.... and would call what you think of as Dorian b9... as Phrygian nat.6.... much easier to use functionally when soloing .
A Melodic Minor
A-ma7 .... Dorian maj7
B-7b9........Phry. maj13... easy to get into that V7susb9 sound
There are many ways to approach using MM and chords and scales from MM.... (Dorianb9)
Diminished and whole tone scales are symmetric scales.... generally for effect or to camouflage standard chord patterns or scale patterns.
There are harmonic functional movement patterns... but very vanilla mechanical, not much soul. There is the BH guitar players approach.
Many seem to like it.... I'm not one of them.
Last edited by Reg; 08-15-2018 at 06:27 PM.
Originally Posted by Reg
The fact that phrygian dominant is the chord scale of E7b9b13 doesn't mean one should spell this chord as Phrygian dominant scale. Playing harmonic minor from the the root of it's dominant is not a particularly more meaningful way of playing over this chord than starting from other chord tones. As you said starting from the 6th (Cmaj7#5) or 3rd (G#dim7...) or other tones all options.
So going back to the OP's question of whether to learn the Phrygian Dominant scale in 12 positions. Why not aim at mastering Harmonic Minor scale so one can play it from any chord tone, be able spell out any inversions of its embedded triads, 4 note chords with all possible rhythms.
Originally Posted by princeplanet
Well, my classmates and I learned Leavitt's 12 fingerings for all diatonic scales in less than 9 months (Major, Mel. Minor, Harm. Minor, and Harm. Major). Lots of chords and arpeggios too. It was a cram but the point is that it doesn't take that long.
That said, I don't play all 12 fingerings anymore.
Originally Posted by djg
Originally Posted by Jazzstdnt
rsergio - I suppose no-one has yet asked you the most important question - one that a good teacher would ask you at the very start - What kind of Jazz are you interested in? If it's straight ahead, Swing, Bop, Hard Bop etc then that requires a different approach (along with different tools) when compared to more modern CST based styles where scales and modes might be more useful.
What a few of us have been saying may be based on the assumption that you want to get some Bop tools in the shed (the best grounding perhaps for all Jazz styles). But you may be more into Fusion or something in which case learning the various ways to embellish chord tones may be of less interest. Who are your favourite players?
Originally Posted by rsergio
Starting string: 6
Starting finger: 1 - stretched (i.e. there are two frets between the notes played by 1rst and 2nd fingers)
Starting string: 6
Starting finger: 4. On the 4th string the 4th finger stretches up for the leading tone.
Starting string: 5
Starting finger: 1 - stretched (i.e. there are two frets between the notes played by 1rst and 2nd fingers)
Starting string: 5
Starting finger: 2 On the 6th and 1rst strings the 1rst finger stretches back for the subdominant tone
Originally Posted by djg
Lot of practical wisdom here.
One of the things I do each morning now is play at least a dozen heads. Just the heads. No backing track, no metronome, just play the heads. Billie's Bounce, Oleo, Cottontail, Honeysuckle Rose, All of Me, Out of Nowhere, whatever, just play at least a dozen of them. Any dozen. Just do it. And it's done a lot for my playing.
One of the things some teachers stress is that great melodies are great lines. Playing those lines, making them sing, requires attention to phrasing, dynamics, contrast, etc.
I play some Herb Ellis lines (usu 8-bar phrases) every day too. Does me a lot of good.
To the OP - Lots of good advice here - BUT - one of the things you'll notice that we do on the forum is weigh in with a lot of "either/or" advice. Meaning, "don't do X, do Y instead!". Technique vs. tunes and improv study vs. "just copy lines" seem to be the most frequently pontificated themes.
Well, serious musicians do both. They can't afford to do either/or. Effective time management in practice routines is key.
Regarding your opening question, learning to shift while playing scales, chords, arpeggios (or anything) is a critical skill for guitarists. All music requires it.
A couple of other things to keep in mind, regarding shifting. A good solo makes use of space in it's phrasing. Horn players set the tone in jazz and they have to breath, hence, use space. It's more song/singer like in its sound anyway. It's more human. Audiences relate to it. So that's one mitigating factor relative to the shifting challenge.
Another is that when improvising you have an increased level of control over what is to be played vs. playing something that is written. If you will watch some great improvising guitarists you will often see how they "burn" in one area/position of the fretboard, then move to another area and burn again, with either silence or something less busy happening between position/area playing.
In other words, your fastest most articulate playing needn't happen while your shifting. That's an impractical/implausible expectation.
Originally Posted by Jazzstdnt
Now take any key you played in open position and "be the nut" to make it movable. Open C becomes the C in CAGED:
3--4--|--5-- 7--1--|--2-- 5--|--6--|-- 2--|--3--4-- 6--|--7--1-- 3--4--|--5--
Starting string: 6
Starting finger: 1 - stretched (i.e. there are two frets between the notes played by 1rst and 2nd fingers)
Is the open position for the key of E:
1--|--2--|--3-- 5--|--6--|--7-- ---3--4--|--|-- ---7--1--|--2-- 4--|--5--|--6-- 1--|--2--|--3--
I'd like to point out a few more things. Scales can have less than seven and more than seven notes. Scales can repeat over one octave or two or three. Scales may have either the same or different notes descending. Scales may be constructed to place chord tones every second note, or two out of three notes, or one out of four, or any two out of three notes, or one out of three. You can change between any scales at any point you choose, that's what real melodies do.
A few examples.
1.CDEG,CGDC a four one octave scale same in both directions.
2.CDEbE GAbAC EFF#G ,CAAbG EEbDC GGbFE ( a two octave asymmetrical scale with chord tones placed on every first and fourth note ten notes ascending and ten descending. Good for blues, bluegrass and polyrhythmic games with the listener.)
A three note version which can be used from which 2 (above) can be derived.
4.CDEFGA,CAGFEDC. A six note scale which is the basis form like Shady Grove and a lot of folk tunes which are mislabelled as Dorian. It's two triads added together.
5.CDEGA,CAGED. A pentatonic scale which can be used to derive 4.
6. CDEbGA,CAGEbDA, A different kind of pentatonic scale
7. CDEbGAB,CBAGEbDA, a six note version of 6(above)
8, CDEbG ABCEb GG#A , a nice scale based on the geometry of the guitar.
I didn't get these from a book, and I don't find the musics which use them to be passe.
Building out from the chord is the way which works for me. If I am improvising then I will just make up the scales as I go along. If I want to sound 'out' then I pretend I am playing over a different chord, it's fun and I couldn't give a monkeys wether it is hip or not. I will have a reason for which chord that I pretend to myself that I am playing over but I wont go into that.
Here is another way to say it, I have no interest in reinventing a new melodic language I want my own language to grow organically from the languages which I, and most humans, have grown up hearing and which, to my ear, represent a continuity of musical evolution. I feel that denying this continuity and failing to love and study the entirety of the known history of music is what has made jazz irrelevant to most people.
I like tonality and I don't particularly want to try and comment on it ironically with each and every phrase or comping choice. That soon gets boring, because that is ONE idea and we need more than one idea or we cannot surprise and delight the listener.
You'll find scales like the above in the licks that you can extract from tunes like Sweet Georgia brown and the like, you know the bits that make fools of the books that presume to give you the 'right' scales and the 'right' way of constructing melodies and the 'right' way to sound modern. Irish Jigs have some of the others. Almost no tune sticks exclusively to one scale.
Have fun and follow your ear, and see what actually sticks for you. Be wary of rebuilding someone else's Great Wall of China, especially if you don't want to live in China.
Last edited by Freel; 08-16-2018 at 07:42 PM.
Originally Posted by princeplanet
Originally Posted by rsergio
I spent thousands of hours practicing all the scales in too many positions, and not only do I feel it was a waste of time, but it actually created habits that were difficult to "undo". I should have just spent a little time on arps, Bebop scales, Blues scales and the various symmetrical scales until I got the sound of them in 5 positions, and then just concentrate on developing language. If you don't wanna take it from me, go find the book "Thinking In Jazz", where the Author goes deep into unlocking the secrets the greats knew that you don't (yet). Through dozens of interviews with the greats, scales are only mentioned as something they learned as youngsters. But many had progressed to have killer chops / lines while they were still teenagers by appropriating phrases from their favourite players....
Originally Posted by Jazzstdnt
Harmonic minor is BASIC. How you APPROACH applying things like harmonic minor is a separate question. It's not either/or.
Last edited by matt.guitarteacher; 08-16-2018 at 05:00 PM.
Originally Posted by princeplanet
Hey PP, hope you're doing well. Only a couple of issues here. Leavitt was very much old school. His sound is very mid-century. His method books were written in '64, '68, and '71. Kind of Blue, In a Silent Way, and Bitches Brew didn't seem to make too much of an impression on him.
His method books were more about teaching technique that supports jazz as opposed to jazz itself. No blues scales, no bends, and last but not least - no modal stuff. The sound is more of a plectrum guitar aesthetic. His method includes VERY extensive arpeggio studies, including 5-note arpeggios out the wazoo.
If your position is that his method was "all about CST", please explain the lessons in Volume 3 on pages 54, 55, 60, and 98.
Last edited by Jazzstdnt; 08-17-2018 at 11:15 AM.
Originally Posted by Jazzstdnt
The old greats learned directly from their band mates, on the street, or from copping lines off the records. Stealing just one line and converting it into an etude for various uses is way more useful time spent practicing than just running scales. Many of us have heard the Clifford Brown practice tapes, very few diatonic scales, it's all about his devices and patterns, he had a ton of them. They all did. They all knew they're scales too, but the point is they quickly moved on to the important stuff, whereas many of us guitarists learning after the 70's were under the mistaken impression that scales were the key to kingdom. If the greats knew how many years fools like me did little else but practice scales for years, I'm sure they'd laugh their asses off!
My understanding is Leavitt's 12 position scales are to facilitate reading. You can read using any system, but Leavitt's system is based on stretches rather than shifts which is supposed to allow you to read without having to look at the fretboard.
1- Jazz is an aural tradition, you are not supposed to read on the band stand. However it's extremely useful to be able to read even at a very elementary level for one's own development with any system. That said having very good reading skills will help you be competitive for broader range of gigs, studio gigs, gigs outside of Jazz, big bands, concert bands etc. But if that's not your goal, Leavitt's system is not for you.
2- Many working pro's with strong reading skills do not use Leavitt's system. It's by no means an industry standard.
3- You really don't want to use the system for improvisation. Shifts unleash many of the expressive elements of guitar.
4- Cello and Violin players tend to have superior reading skills to guitar players. They shift all over the place when they read. Doesn't seem to prevent them from becoming some of the best readers.
5- Segovia was all about shifts. I bet he was a good reader.
6- Nonetheless shifting does complicate reading. World is a complex place.
Last edited by Tal_175; 08-17-2018 at 08:21 AM.
Originally Posted by Tal_175
1. I did not find the music in the Leavitt books sufficiently well composed to truly develop sight reading, for the reason above.
5. In jazz shifts should generally be in time. Segovia was a master of using portamenti to announce rubato, generally jazz should be in time. I doubt he was a good sight reader, not that I have any evidence. It is just an alternative prejudice, a gut feeling.


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It is addicting, isn't it, Jessica? You've got me beat - I've got 12 papers and 12 elements.
You are hereForums › Digital Scrapbooking › Digital Scrapbooking Discussion › Pixel Scrapper December Blog Train
Pixel Scrapper December Blog Train
I thought about this blog hop overnight, and wanted to bring up a point for discussion. We all want our downloads to be quick and easy for our visitors. When looking at the past blog hop downloads that I have on my computer, I see that most of them are relatively small - such as four or five papers, and a number of elements. So, my current thinking for my own blog-hop type downloads will be to limit their size to 4 or 5 papers and the same number of elements.
So my question to the group is, what do you like to see in a blog hop download?
IMHO whatever they are willing to offer is good enough for me, Sunny...
In my case, I'm hoping to contribute something. I've had a few physical setbacks since I said I'd like to join this so I'm hoping I can offer something - anything - even if it's just one thing (word art, paper, element or what not). I just feel like I download stuff & want to give back somehow. I'm not a designer (nor am I planning to be, but you never know - down the road I could get bitten by the bug, so to speak ), so this is going to be real challenge for me & I just hope whatever I am able to make is worth someone downloading...
OMG, Jessica and Sunny, this is great! Do you believe I made only one element till now?
For me, very tiny portions on blog hops are frustrating - I prefer bigger ones. I also don´t like when there are lots of links from the same blog - larger downloads work better for me...
yeah i prefer larger downloads aswell And jet i'm always greatful for every piece, someone made the time to do it So no mather how small or big i'm happy to be able to enjoy it
Now that I think about it, I guess I would rather have a kit that is smaller with beautifully coordinated components rather than a larger kit that has thrown in everything. Sometimes, I find that with the mega kits the previews have so much stuff that it is visually overwhelming and I tend to pass. But that's just me, I like to keep it simple.
I find that the beautie in a blogtrain is that you get a really big collab kit so you can choise, mix and match how you like it and it's almost always something you really like in it
And you can also download the piece you like and skip the others Or delite the things you don't like Me tho i always download everything cause i find that sometimes i use things i maybe donät like from the begining but later find good use for
Great idea!!! I'll try do something and put my part here, because I don't have a blot yet and I'm a little busy these day to build one.
I don't want to sound dumb,but what exactly is a blog train, and what exactly do you have to do to participate in this one? Thanks!
@Betsy: A blogtrain is people getting together to create and design pieces of a kit with the same palette or theme And then share it with everybody in there blogs, making people go from blog to blog to pick up all the pieces and end up with a really nice kit
Thanks Jessica, that sounds really fun!
OK, I'm a bit...of an overachiever. I'm total new to all of this digital stuff and really dig it, but my computer skills are somewhat lacking. To say the least! It can often be discouraging, but yet, I still just can't give up. I was playing with your pallet and made a bunch of embellishments. Square brads, round brads with border, circle and square frames and corners. I made one of each with all of the colours. Here's the deal. I did it all in PowerPoint. I do all of my digital layouts in PowerPoint. Am I just shooting myself in the foot here? Pleases, be brutally honest.
I love blog hops and all of their wonderful goodies. I like a little bit of everything, but I'm grateful for anything. I suppose if I could create my own blog train, I would try to see that there is a little bit of everything. Papers, word art, bellies and if I were super on the ball, maybe a few clusters, borders and perhaps a quick page or two. How awesome would that be? If everyone does a little bit of something, than it wouldn't be that much work!
I have never ever "made" anything for scrapping but I just might try. I have some CU stuff so I might try my hand. Kind of depends on the amount of time left since I just saw this today. Sounds like a lot of fun to try my hand! Will see......
I will do a mini. I just saw the post in the newsletter today.
I am going to have a go to.
Here is a preview of my part
oooh, Jessica, that looks lovely! Can't wait for december now!
Very professional looking, Jessica! Love your wonderful style of design.
Ooh, so excited about it now that I've seen a kit! Great job Jessica.
So, I've started working on some papers. I'm making them 3oo ppi and 12x12. Is that standard? Also, do you save papers as JPGs or TIFF? I plan on saving any embellishments as PNGs. What size is standard? Sorry for all of the questions. I'm a newbie at all of this!
Janet - Save your papers as JPEG. And the resolution at 300 is excellent. Some people lower the resolution to make it a smaller download, but 300 is perfect. Have fun!
Here is my preview.........Marisa, I assume it''s okay to use your logo on these?
You may of course use the logo if you'd like.
@Janet: Papers are usually 12x12 inches at 300 dpi. Elements are usually .PNG, I have a new tutorial here about trimming them.
All the previews look great! I'm sure everyone is getting excited!
Okay @Jessica and @Sunny, after seeing your stuff, I'm going to rip mine up and hide it under a sofa cushion. Y'all have made gorgeous kits, just gorgeous.
Tina! Please participate! I'm just a newbie myself, so it's great to be in a scrapping community that understands that in a non-judgmental way - I believe that we are here for each other, to help each other learn and grow - AND everybody has their own design style, that's why a blog hop is so cool, because of the variety. Your contribution will be just as fun, and will have it's own artistic appeal.
@Sunny, oh I'm going to participate -- I set up a blog and everything just for the purpose! And I'm having a ball making stuff. It's going to be fun to see everyone's interpretation of the palette.
Everyone seems to be getting so excited! I know I'm excited to see what everyone has made.
Here is mine...
Oh Shuckclod that penguin is just adoreble
Tina i'm sure your part is just amazing aswell
This is gonna be so fun December were are you i need you, like now!
oh my goodness! You all rock! I can´t wait till download your parts girls I hope not to be a disappointment with mine, but it´s my first time designing!

subset: commoncrawl


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We have been to Maui many, many times, but schedules have never lined up for us to attend George Kahumoku Jr's Masters of Hawaiian Music Slack Key Show on the beautiful island of Maui. So when George Kahumoku Jr. and Led Kaapana announced they were coming to Portland, it was an opportunity not to be missed!
Slack key is a distinctive guitar style that originated in Hawaii and it just seems to "fit" with the Hawaiian islands…open, airy, playful, soothing, exciting, and mesmerizing, all at once. As a novice slack key guitarist myself, I've been privileged to play (or shall I say dabble with) this style of music while watching the ocean and feeling the breezes in Maui. It is interesting to see how geography can actually influence a musical style, but when listening to slack key you can actually feel the rhythm of the ocean waves and hear the sway of palms. In fact, during one of George's songs, he even had the audience join him by inserting a "swishhhhh……chrrrrrrrrr" into the melody. We were a long way from Hawaii, but we still heard the warm ocean!
George is a great player and entertainer. As I've found with most people from Hawaii, they enjoy "talking story", and bringing in tidbits from their life as they play their music. One of the highlights of the evening was having George's wife Nancy come up on stage and dance hula to several songs. I just love seeing husband and wife partnering like this!
Led Kaapana was equally entertaining, and as a fellow guitarist, I was truly impressed with his fingerwork. He shared how he grew up playing music on borrowed instruments, and never even learned the "proper" names of chords or notes until he moved off of the Big Island and started playing with others. Watching George and Led play together took the experience to a whole new level as they interacted and tuned in to each other over the course of numerous songs.
Experiencing Slack Key guitar in (relatively) frigid Portland was a great mid-winter experience. Next time you are on Maui or another Hawaiian island, or if you are lucky enough to have masters such as George and Led come through your town, don't miss the opportunity to experience ocean waves and breezes through the art form of slack key guitar.


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The Weigh We Were
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Staff Picks: Best Late Night Eats in Chicago
Our favorite dishes.
Is it just us, or are late night food cravings absolute and odd? Sure, after a few drinks any food becomes a good idea. But for whatever reason, only very specific dishes start sounding unreasonably perfect. Blame it on the booze if you'd like. We asked our writers to pick the dishes that they most craved late at night, and the results are as individualistic as you'd expect.
Three cravings appear to be universal: sweets, Mexican food, and pizza. Why those three? Perhaps we'll never know. Anyway, here are the dishes we crave after the clock ticks past midnight. After you finish looking through the slideshow, let us know what places you like to make a pitstop at before bed.
- Philly Cheesesteak Pizza at Dimo's Pizza
- Hot Dog at Redhot Ranch
- Pastries at The Medici on 57th
- Large White Pizza with Spinach at Piece Brewery & Pizzeria
- Fatboy at Twisted Spoke
- Truffled Handcut Fries at The Point
- Ice Cream Sundae at The Office
- Chilaquiles at Au Cheval
- Pizza at Pie-Eyed Pizzeria
- Dip And Chips at Picante Taqueria
All products linked here have been independently selected by our editors. We may earn a commission on purchases, as described in our affiliate policy.


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A Frankenstein novella that pre-dates Mary Shelley's famous story will be the focus of an address at Hope College on Monday, Sept. 21, at 4 p.m. in Winants Auditorium of Graves Hall.
A Frankenstein novella that pre-dates Mary Shelley's famous story will be the focus of an address at Hope College on Monday, Sept. 21, at 4 p.m. in Winants Auditorium of Graves Hall.
The public is invited. Admission is free.
The lecture, "The Frankenstein of 1790 and Other Missing Links from Revolutionary France," will be presented by Dr. Julia V. Douthwaite, professor of French at the University of Notre Dame. She will be discussing her recent discovery of a French novella that centers on a scientist called Frankenstein who creates artificial life - a work that was published nearly three decades before Shelley's story appeared in 1818 - and consider the parable in the context of its times.
Douthwaite's research was featured in the July issue of "European Romantic Review." Her article "The Frankenstein of the French Revolution: Nogaret's Automaton Tale of 1790," which she wrote with former Notre Dame graduate student Daniel Richter, explains that the name Frankenstein was used by the French author Francois-Felix Nogaret in his story "The Looking Glass of Actuality, or Beauty to the Highest Bidder."
Douthwaite teaches and writes on the literature and history of the French Enlightenment and the Revolution, and French-English relations. Her present research focuses on how key events of the French Revolution - in political history, history of science and women's history - left their imprint on fictions published from 1789 to 1803.
Her book "The Frankenstein of 1790 and Other Missing Links from Revolutionary France" is forthcoming. Past recipient of grants from the National Endowment for the Humanities and the Lilly Foundation, she received a fellowship to support the research for and writing of the book from the John Simon Guggenheim Memorial Foundation in 2006.
Douthwaite's other books include "The Wild Girl, Natural Man, and the Monster: Dangerous Experiments in the Age of Enlightenment" (University of Chicago Press, 2002) and "Exotic Women: Literary Heroines and Cultural Strategies in Ancien Régime France" (University of Pennsylvania Press, 1992). With Prof. Mary Vidal (UCSD), she co-edited the 2005 volume, "The Interdisciplinary Century, SVEC 4"; and with Prof. David Lee Rubin (U of Virginia), she co-edited the special issues of "EMF: Studies in Early Modern France" dedicated to Cultural Studies, vols. 6-7 (2000-01).
In addition to "European Romantic Review," she has had articles in journals such as "Annales de la Société Jean-Jacques Rousseau," "Eighteenth-Century Studies," "Romanic Review," and "Studies on Voltaire and the Eighteenth Century." She has also had chapters in books such as "Etre dix-huitiémiste 2," ed. Blum (2007); "Littérature et engagement pendant la Révolution française," eds. Brouard-Arends and Loty (2007); and "L'Engagement littéraire," ed. Bouju (2005).
On top of her scholarship and teaching, Douthwaite has for the past decade held a number of administrative positions. Her administrative experiences included directing a research institute on the Notre Dame campus (1999-2001), directing the Notre Dame study-abroad program in Angers, France (2001-03), and, as assistant provost for international studies from 2003 to 2009, overseeing all undergraduate programs of study abroad and launching Notre Dame's strategic plan for internationalism. As assistant provost, she was particularly pleased to launch in 2008 the M.A. exchange program between the University of Notre Dame and the Université de Rennes 2, and build other ties with premier institutions such as the University of Bologna and CambridgeUniversity.
Among her contributions to the profession, she is currently a member of the Executive Board of the American Society for Eighteenth-Century Studies and the Advisory Board of SVEC (Oxford). She has also served on the editorial boards of "Eighteenth-Century Studies," "French Forum" and "Eighteenth-Century Life." Since 2003, she has also been membre associé of the groupe de recherche CELAM, at the Université de Rennes 2.
Douthwaite's address at Hope is sponsored by the college's women's studies program, department of modern and classical languages, department of English and cultural heritage program.
Graves Hall is located at 263 College Ave., between 10th and 12th streets.


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Win a Trip to New York For Two
Submit the Lil Love of Your Life For a Chance to Win a Trip to Kick Back and Relax in the Big Apple!
Mama needs a break? Your child's mug could be your ticket out of town! Capture your cutie on camera and submit the photograph or video for a chance to win a relaxing vacation for two to New York. Your trip will include round-trip airfare, three nights at a fabulous hotel, a spa day for two, a shopping spree, and delicious dinners out on the town. Best of all, you'll enjoy kid-free time to pamper yourself!
To enter the giveaway, all you have to do is join the Sugarbabies group and share an image, video, or post about the Lil Love of Your Life. You can even submit your photos and details by phone. Enter as many times as you like — the more lil ones, the better. The giveaway ends Feb. 28, so snap to it! Check out the official rules here.


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Color: William Burroughs Walking on Color
May 19, 2011 § 5 Comments
William Burroughs' Color Walks
"Another exercise that is very effective is walking on colors. Pick out all the reds on a street, focusing only on red objects–brick, lights, sweaters, signs. Shift to green, blue, orange, yellow. Notice how the colors begin to stand out more sharply of their own accord. I was walking on yellow when I saw a yellow amphibious jeep near the corner of 94th Street and Central Park West. It was called the Thing. This reminded me of the Thing I knew in Mexico. He was nearly seven feet tall and had played the Thing in a horror movie of the same name, and everybody called him the Thing, though his name was James Arness. I hadn't thought about the Thing in twenty years, and would not have thought about him except walking on yellow at that particular moment."
(From "Ten Years and a Billion Dollars" William S. Burroughs in The Adding Machine: Selected Essays, Arcade Publishing, New York, 1985)
"For example, I was taking a color walk around Paris the other day…doing something I picked up from your pictures in which the colors shoot out all through the canvas like they do in the street. I was walking town the boulevard when I suddenly felt this cool wind on a warm day and when I looked out all through the canvas like they do in the street. I was walking down the boulevard when I looked out I was seeing all the blues in the street in front of me, blue on a foulard…blue on a young workman's ass…his blue jeans…a girl's blue sweater…blue neon…the sky…all the blues. When I looked again I saw nothing but all the reds of traffic lights…car lights…a café sign…a man's nose. Your paintings make me see the streets of Paris in a different way. And then there are all the deserts and the Mayan masks and the fantastic aerial architecture of your bridges and catwalks and Ferris wheels."
(Burroughs, from an interview with Brion Gysin in 1960)
Update: More on Burroughs' Color Walks from Michael Taussig
§ 5 Responses to Color: William Burroughs Walking on Color
[…] Walking from RadioLab's episode on Color. Their multisensory exploration was inspired by William S. Burroughs' Color Walking; Keri Smith recommends it also. What I'm loving especially is the way they used the […]
[…] @ RadioLab and WordObject and WordObject […]
[…] to yourself is to experiment with a magical technique described by William S. Burroughs called, "Walking on Color." Pick a color and take a walk in an area that is familiar to you, choosing to only allow […]
[…] to yourself is to experiment with a magical technique described by William S. Burroughs called, "Walking on Color." Pick a color and take a walk in an area that is familiar to you, choosing to only allow […]
I use this technique when playing Spheroku — Think of certain color and see this color… Then I think of William Burroughs singing on from Tom Waits "Black Rider" — one of my favor songs of all time. http://youtu.be/Z7C1O1tNGks


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There are 53 search results
A World War II program traded German and Italian Americans for Americans who were trapped abroad. NPR's Rachel Martin speaks with author Jan Jarboe Russell.
This is a collections and primary source resource that contains the papers of Justice Tom C. Clark, and Civil Liberties and Civil Rights Cases of the Supreme Court. Tom C. Clark is, to date, the only Texan who has ever served on the Supreme Court of the United States. Born in Dallas, Texas, September 23, 1899, Clark received his law degree from the University of Texas in 1922. He joined the Justice Department in...
The Samuel Peterson Diaries were purchased by Tarlton Law Library in 2007 and added to Rare Books and Special Collections. This virtual exhibit was originally designed to complement a physical exhibit displayed in the Susman-Godfrey atrium of Jones Hall in Spring 2008. The Rare Books and Special Collections department at Tarlton Law Library serves as the repository for the Law School's historical materials and...
Justices of Texas 1836-1986This digital library describes the 160 individuals who, as members of the Texas Supreme Court and Texas Court of Criminal Appeals from 1836 to 1986, shaped the rights of Texas citizens. Justices of Texas includes, for each justice, a portrait, a biography, citations to opinions, and links to resources with additional information.
Using the wartime diary of Alexander Hobbs, this module explores how teachers and scholars can approach the Civil War on the Gulf Coast.
original book [32] p. : ill., map (fold.) ; 15 x 22 cm. Includes a map of the Houston Ship Channel from Galveston Bay into downtown Houston along Buffalo Bayou, featuring all industries, railways, public and private docks
Emergency Confederate Warrant for Removal of Safe Containing Achives, Galveston, Texas, Oct. 6, 1864
Orders to pay. Drawn by Treasurer of the County of Galveston, R.H. Howards, attested to by Oscar Farish, clerk. To pay $40 to F.M. Joseph for removal of the safe.
Printed document with 1 map, 251 pp. Reid, Samuel C. (Samuel Chester). The scouting expeditions of McCullochs Texas Rangers, or, The summer and fall campaign of the Army of the United States in Mexico, 1846: including skirmishes with the Mexicans, and an accurate detail of the storming of Monterey: also, the daring scouts at Buena Vista: together with anecdotes, incidents, descriptions of country, and sketches of...
1972 Sears Cup National Championship team at Houston Yacht Club including Paul Thompson, Skipper Clark Thompson, Jr., and Buddy Brown.
1st advertisement for the Port of Houston.
One black and white photograph of loading cotton aboard steamship, just before World War II
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One black and white photograph of ship and boats in a channel, Houston
Annotated typescript of biography of Galveston founder Michel Branamour Menard. The contents include a sketch on Menard from the Galveston Directory for 1866-1867, a discussion of Menard from Early Issues of Capital Stock, a sketch of Menard from the Galveston Daily News, and a memorandum by Sue Menard McCaleb. 38 page typescript biography of Michel Branamour Menard, annotated by Houston Wade.
Photographs of the Texas City, Texas waterfront which was later devastated by the April 16, 1947 disaster which occurred when a French ship carrying fertilizer on Galveston Bay caught fire and exploded. The nearby Monsanto styrene plant and other petroleum refineries, homes, warehouses, ships and buildings were largely destroyed. At least 576 were killed and 4,000 injured, with the town being almost completely...
Photographs of the Texas City, Texas waterfront after it was devastated by the April 16, 1947 disaster which occurred when a French ship carrying fertilizer on Galveston Bay caught fire and exploded. The nearby Monsanto styrene plant and other petroleum refineries, homes, warehouses, ships and buildings were largely destroyed. At least 576 were killed and 4,000 injured, with the town being almost completely...
This letter is part of a larger collection, for which there is a guide on-line at http://library.rice.edu/collections/WRC/finding-aids/manuscripts/0536. The letters are from Rice Institute student Otto Eisenlohr to his high school sweetheart and eventual wife, Gainor Roberts, regarding student life,...
Interview of Esther Quan conducted by Pin-Fang Wang and Clarissa Cox, June 3, 2010 in Houston, Texas. This recording forms part of a collection of oral history interviews conducted by the Chao Center for Asian Studies at Rice University. This collection includes audio recordings and transcripts of interviews with Asian Americans native to Houston.
Wea Lee, interviewed by Pin-Fang Wang and Yuanzhuo Wang, July 2 & 3, 2010, in Houston, Texas. This recording forms part of a collection of oral history interviews conducted by the Chao Center for Asian Studies at Rice University. This collection includes audio recordings and transcripts of interviews with Asian Americans native to Houston.
One black and white photograph of the Brown Shipbuilding Co. shipyard.
The personal diary of Elizabeth Craw (1819-ca.1909) records her journey from Ohio to see her soldier fiancé in Texas, and her experiences there. Craw's fiancé fought and died at the Battle of the Alamo, 1836. 40 page handwritten diary. Circa 60 completely blank pages at the end of the diary were not included in this digital representation. Travellers and explorers Alamo (San Antonio, Tex.)--Siege...
1 page handwritten contract between the school in Bellville, Texas and J.P. Osterhout. He taught spelling, reading and writing, geography, grammar, and arithmetic, and philosophy and Higher Branches.
List of names and claims of veterans of the Republic of Texas (handwritten)
Medical log. 148 page handwritten medical record book describing Dr. Stewarts patients, their treatments, and fees. Among the patients is Mirabeau B. Lamar. Area includes Brazoria County and elsewhere in Texas.
26 pages of an address by Judge Peter Grey on the African slave trade and alludes to leaving the Union, if necessary, near the end of the address. Speech delivered May 30th, 1859 and;published by several gentlemen who heard it.


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By Jennifer Gregory
Jennifer Gregory is a journalist with over 17 years professional writing experience. Jennifer blogs via Contently.com.
While one of the main purposes of webinars is generating new customers and increasing sales from current customers, you can also generate income by charging for tickets to your webinar.
Instead of simply charging for a webinar that you had previously offered for free, you will need to spend some time researching and planning your strategy before selling tickets.
By keeping a few insider tips in mind, you can add additional revenue to your company while also increasing your customer relationships.
Think Carefully about the Day and Time
Scheduling is important for all webinars, but it is especially important when you are selling tickets. Cinnamon McCann, producer of many fee-based webinar classes, has found that Mondays and Fridays are not good days to schedule webinars and has had a larger turnout for mid-week events.
"Try to avoid scheduling during dinnertime and experiment with different times to see which works best for your particular audience," said McCann. She has also found that summer webinars are lower attended because of vacations and schedules so she takes a break when the schools are out for the summer.
Select the Right Ticket Price for Your Audience
Before deciding on the price for your webinar, spend some time researching what other people are charging for similar webinars in your industry.
"When you are just starting out you may want to offer your webinars at a low introductory price or offer a two for one price," said Alice Heiman, a sales consultant and trainer. Once you have a following, then you can raise your price, she said.
Another tactic is to offer coupons or promotions to your webinar to help people feel that they are getting a deal or discount. McCann has also increased her attendance at webinars by giving a cash bonus to participants who refer a friend.
Offer an Incentive to Purchase Tickets
Since people often wait until the last minute to buy tickets to any event, consider offering a promotion to kickstart your ticket sales.
McCann suggests offering free tickets to the first three people who purchase tickets. She promoted an offer to potential customers through email and also offered a discount to every customer who responded immediately to try to get the tickets. "This promotion really helped to create an immediacy to purchase tickets," said McCann.
Provide Value-Rich Content
Although content is important for any webinar, you should take extra time in planning content for fee-based webinars.
Heiman recommends limiting the number of sales pitches and focusing on content that will increase the customer's business to make it worth the ticket price.
"If you charge, you need to deliver great content with minimal selling but you can make a special offer at the beginning and at the end for those who attend," said Heiman.
After the webinar is over, take some time to recap what worked and what didn't work to help improve for next time. And don't forget to post the recorded version of your webinar online for a fee to continue generating income long after the webinar is over.
|For more information on using the AnyMeeting webinar ticketing feature, please see the AnyMeeting support website and tutorial video.


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Reg Meuross
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Reg Meuross releases a new single on May 1st and invites us all to support each other and to #ShineOn. Somerset singer-songwriter Reg Meuross is inviting people to join in with the spirit of new song Shine On, which is … Continue reading →
New song – Shine on. Official release May 1st but this is a song for now, so please watch and share. Thank you to everyone who helped with the song and the video, and the biggest nod to health care … Continue reading →
Kevin Bryan (Morning Star etc) delivers his verdict on RAW. "RAW represents the final collection in a trilogy of essentially solo recordings from an artist who is unquestionably one of the finest singer-songwriters that this country has spawned during the … Continue reading →
© 2020 Reg MeurossAll songs and music publishedby Hatsongs Music